Based on the novel by Peter Cameron, Andorra stars Pearce as Alexander Fox, a bookseller who leaves the Us to begin a new life abroad in small, idyllic Andorra. When a woman’s body is found and Alexander is the suspect, an emissary from his past (Farron) threatens to envelop his newfound paradise.

Mindy Kaling and Emma Thompson are joining forces on the big screen for what is surely going to be a project of interest for the major studios. Variety confirms the actresses will headline an untitled comedy set behind-the-scenes of a late-night talk show. Kaling is writing the screenplay, with Scott Rudin and Howard Klein boarding as producers. The comedy is being described as “Broadcast News” meets “The Devil Wears Prada.”

Thompson will star as a veteran host whose long-running late-night talk show is thrown into disarray following the arrival of its first female writer, played by Kaling. The project is the latest development for the ever-busy Kaling, who in addition to juggling her Hulu series “The Mindy Project” is also attached to star in Ava DuVernay’s “A Wrinkle In Time” and Garry Ross’ “Ocean’s Eight,
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The story follows an American who settles in the tiny country of Andorra, meets an Australian couple and unsettles the other natives when he becomes linked to a dead body floating in the harbor.

Production is scheduled to commence in Italy next April with David Nichols from Cineroma as the Italian production partner. Production design is by Academy Award-winner Patrizia von Brandenstein, with cinematography by Ian Baker. Post production will follow in Australia.

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

When Tom Bernard and Michael Barker saw “Equity” at last winter’s Sundance Film Festival, they knew immediately that the thriller about women breaking Wall Street’s glass ceiling would tap into the zeitgeist — before reviews even hit, the Sony Pictures Classics co-presidents snapped up the movie and gamed out a release plan that saw the studio debuting the picture the same week that Hillary Clinton claimed the Democratic Party’s nomination for president.

“They instantly understood that the movie was an opportunity to have a conversation about women in business,” says Meera Menon, the film’s director. So Bernard and Barker worked with Menon and producers Alysia Reiner and Sarah Megan Thomas to set up screenings with women’s groups all over the country, organizing discussions about gender discrimination around the film.

“It’s a thriller and a Wall Street drama, but it’s also an issues movie,” says Bernard.
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Of the re-release plans, Cohen said, “Merchant Ivory has been a peak on the twentieth century cinematic landscape, and we are honored to have James Ivory on our team working on the restoration and re-release of these magnificent films.
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You might say that Vanessa Redgrave was born to be an actress. Laurence Olivier, who was performing alongside her father, Michael, in a 1937 production of “Hamlet” in London, announced her birth from the stage after a show, telling the audience: “Tonight a great actress was born.”

In a career that has spanned seven decades, Redgrave has won an Oscar, a Tony, two Emmys, and two Golden Globes. She received her sixth Oscar nomination in 1992 for her role in the Merchant Ivory film “Howards End,” which is screening in a newly restored print in New York and Los Angeles. The 79-year-old actress remains as busy as ever, performing on stage and in film and television. She can be seen in the James Sheridan film “The Secret Scripture,” which premieres at the Toronto Film Festival on Sept. 10. Her first mention in Variety was on June 25, 1958.

Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

But for Wood’s first feature, the daring “White Girl,” the filmmaker had to work against her own nature and strip down a hefty story – one based on her own experiences – to craft a tightly wound story that addresses issues as wide-ranging as white privilege, illegal drugs and sexual assault. Initially imagined as 200-page script that culminated in “a mass orgy,” Wood had to pare down her story to a slim 88 minutes, all in the name of maximum impact and minimum superfluity.

“The exercise of writing ‘White Girl’ was how to strip it down, how to tell this story with
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Every year, industry folks lobby the Board of Governors of the Academy of Motion Picture Arts and Sciences with their candidates for honorary Oscar winners at the annual Governors Awards. And sometimes they get their way. Over the years Mike Kaplan, a publicists branch Academy member, has successfully lobbied for Lillian Gish, Robert Altman and John Ford’s favorite actress Maureen O’Hara, who happily collected her gold man the year before she died.

Every year, industry folks lobby the Board of Governors of the Academy of Motion Picture Arts and Sciences with their candidates for honorary Oscar winners at the annual Governors Awards. And sometimes they get their way. Over the years Mike Kaplan, a publicists branch Academy member, has successfully lobbied for Lillian Gish, Robert Altman and John Ford’s favorite actress Maureen O’Hara, who happily collected her gold man the year before she died.

Back when Sony released Rob Marshall’s overwrought and glossy $85-million flop “Memoirs of a Geisha,” I remember saying, “Merchant Ivory could have made a better version of this for $12 million.”

The production company founded by the late, great New York producer Ismail Merchant and James Ivory, his directing partner for 40 years, produced a remarkable collection of low-budget indie dramas from 1963 through 2005, the year Merchant died. Their films were so instantly recognizable that “Merchant Ivory” became not only a brand but also a description of an art film genre often identified in ads with ivy trellises.

Cohen Media recently acquired (with some difficulty) the rights to most of their library (21 films, 10 shorts and several documentaries). New York cinephile and real estate mogul Charles Cohen said he acquired the Merchant Ivory brand “to raise the profile in the minds of a new audience and remind older audiences of the high quality films Merchant Ivory embodied.
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Back when Sony released Rob Marshall’s overwrought and glossy $85-million flop “Memoirs of a Geisha,” I remember saying, “Merchant Ivory could have made a better version of this for $12 million.”

The production company founded by the late, great New York producer Ismail Merchant and James Ivory, his directing partner for 40 years, produced a remarkable collection of low-budget indie dramas from 1963 through 2005, the year Merchant died. Their films were so instantly recognizable that “Merchant Ivory” became not only a brand but also a description of an art film genre often identified in ads with ivy trellises.

Cohen Media recently acquired (with some difficulty) the rights to most of their library (21 films, 10 shorts and several documentaries). New York cinephile and real estate mogul Charles Cohen said he acquired the Merchant Ivory brand “to raise the profile in the minds of a new audience and remind older audiences of the high quality films Merchant Ivory embodied.
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Roadside and Miramax's fairly wide opener Southside With You had a mostly solid start in the final weekend of August. The Sundance 2016 debut grossed over $3 million in 813 theaters – many more locations than other newcomers – making it by far the biggest grosser among the new Specialty releases Friday to Sunday. Among other titles making their bows, the restored re-release of Howards End managed to score the highest per theater average as of Sunday morning. The Cohen…
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Led by a fantastic opening for Screen Gems' new thriller Don't Breathe, this weekend over performed expectations with the top twelve delivering a 43.5% improvement over the same weekend last year, just barely coming up shy of a combined $100 million. Along with the stellar opening for Don't Breathe, Mechanic: Resurrection had a solid opening for Lionsgate & Co., the moderate release of Southside with You performed well, the expansion of Hell or High Water continues to impress and Bad Moms has another great hold as the R-rated comedy approaches $100 million domestically. At the top, Don't Breathe delivered an estimated $26.1 million besting Mojo's projections, which were nearly double the studio's conservative expectations, by $5.6 million. The film, which was made for just under $10 million, delivered 2.6 times its budget domestically and received a "B+" CinemaScore from opening day audiences. The opening compares favorably to last year's The Visit, which opened with $25.4 million and a
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Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.

August can often be thought of as a January-esque dumping ground for Hollywood, and that notion is certainly refuted when looking at this month’s releases. With one of the summer’s best studio offerings, a few more more promising ones, and some of our festival favorites from the last year (and even further back), there is no shortage of promising options. We should also note that Multiple Maniacs, Elevator to the Gallows, and Howards End are all getting substantial theatrical re-releases throughout the month, so seek those restorations if they are coming near you.

We started the month off wishing Olivia de Havilland a happy centennial. She's now our oldest living Oscar winner! Then we completed our our "halfway mark" year in review which is like a warm up for the Film Bitch Awards at years end. We'll close the month tomorrow with the Supporting Actress Smackdown of 1977. Otherwise July has been the usual array of randomness. We like a good variety at The Film Experience as long as that variety includes lots of actressing and films from multiple genres and eras.

But about this era for a moment: the summer blockbusters have been a little rough this summer but find a smaller release to see this weekend: Miss Sharon Jones opened yesterday; do Not miss Viggo Mortensen in Captain Fantastic which added over 400 theaters yesterday (it's now probably somewhere near you) and lives up to its title; and you might also want an opinion on the new Woody,
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